The Redwalls "Don't You Wanna Come Out?"

The Redwalls "Edge of the Night"

The Redwalls "Thank You"

Garage rock duo The King Khan and BBQ Show stops at OEJ November 6th

Now, I could tell you about Mark Sultan, I mean, BBQ's past in bands like Les Sexareenos or The Spaceshits, and that his new album will be out soon on Bomp. I could tell you about King Khan's pseudo-celebrity in Europe, or his past in The Spaceshits, or how his band's new album is a split with The Dirtbombs. But you probably wouldn't give a shit. These names and facts probably mean nothing to you. Let's talk about the real nitty gritty - The King Khan & BBQ Show. First, I must say that these guys are fuckin blood brothers, man. Real tight. They played all over the place before in an aforementioned band outta Montreal. And they're the best of friends to this day. When King Khan (then 'Blacksnake') decided to stay in the land of kraut and honey, they always maintained that they would soon lay waste to this miserable world. And so they began in 2002. BBQ visiting my man King Khan, and jamming in his Nazi-bunker rehearsal space. The black magick remained intact. Songs flowed endlessly like blood from a cancerous abcess. They took it easy, honing their craft, playing sporadically around Germany and Spain to crowds outraged by their incredible sound and nasty live show. Orgiastic, anarchic, hypnotic and personal are the shows to this day. I've seen the blow-jobs and blood, the pick-ups and puke, the dancing and the laughing. Two guys. One smashing snare, bass drum and tambourine with his bare feet, molesting his guitar and singing like a possessed angel. The other spinning and howling like a freak while belting it out on his guitar like a real gone savage. What does it all sound like? It sounds like five men. People throw the typical suspects into their descriptions as a defense against the real sound: The Velvet Underground, 13th Floor Elevators, Black Flag, The Falcons, Sam Cooke, The Users, The Sonics, The Cramps, Bo, Jerry Lee, The Gonn... Their sound is all of this and more, but all of their own. The show? A mess. Love songs, punkers, improvised riot-starters, dance-floor shakers, sing-along stompers, wild rockers - you name it. They always drench the crowd in raw energy, and they're always the last ones dancing and drinking at the bar. The LP/CD will be out in March on Hazelwood Records in Europe and in January/February on Goner Records in the US. It was recorded by DM Bob in Hamburg. A single on Italy's 'Solid Sex Lovie Doll Records' will precurse the disaster. The 'real rock n roll' monicker has been used and abused, yes, but I can't think of any better way to describe this party. --Allen Ginseng

The King Khan and BBQ Show "Fish Fight"

The King Khan and BBQ Show "Pig Pig"

The King Khan and BBQ Show live in Kalamazoo

The White Rabbits at OEJ November 2nd

The raucous indie rock sextet from Brooklyn come to New Orleans in the wake of an appearance on Letterman, a top three SXSW vote from two UK publications, and band of the day and song of the day features on Spin.com and NPR, respectively. They released their first LP, Fort Nightly, this year.

"It's a great debut for a band with an impressive, distinctive sound"—Pitchfork Media(8.1 rating)

"Exuberant Brooklyn rock with no fuzzy distance, either sonic or ironic"—The Village Voice

White Rabbits came to NYC via the arid plains of the Mid West. Although they have been in The City for just over a year they have, in that sort interval, managed to catch the attention of Say Hey Records and producer Chris Zane (Calla, Asobi Seksu, Les Savy Fav) with their stellar songwriting ability and instrumental aplomb.

Lead by dual vocalists, Greg Roberts (Guitar / Vox) and Steve Patterson (Piano / Vox), the 6 piece is rounded out by Alex Even (Guitar / Vox), Adam Russell (Bass), Matt "The Duck" Clark (Drums) and Jamie Levinson (Percussion). With a certain joie de vive, playfulness and charm, White Rabbits thematically evoke the more decadent and bygone era of days spent on the green, old cinemas--"Tourist Trap", tragic mothers--"Navy Wives", and restrained, but no less awkward domestic disputes, with the first single, "The Plot."

Added to their arsenal are 3 part vocal harmonies that texture the album throughout. White Rabbits even showcase the occasional group chant, best exampled on Fort Nightly’s opening track, "Kid On My Shoulders," as it thunders to its conclusion. White Rabbit’s penchant for more tropical excursions such as on "I Used to Complain Now I Don’t," featuring the horns of Beirut’s Jon Natchez, are, at times, reminiscent of The Specials or Madness.

The band also has a keen ear for the occasional cover song, and the old instrument switcheroo on stage. Anyone who has had the chance to see White Rabbits live will be able to attest first hand to the joy and effervescence that they exude on stage. True camaraderie in fact. Their sets have gained the band a large and growing audience and led them to share bills with Peter Bjorn & John, The Walkmen, Richard Swift and others. A full tour is planned for the late spring as well.

White Rabbits have succeeded in realizing a tremendously vibrant and creative debut record with Fort Nightly. They communicate joy without being cloying or saccharine sweet, and the listeners could easily find themselves clapping along to any one of the darker moments. White Rabbits combine style and panache, both musical and personal, for a thoroughly fresh and unexpected experience. This is certainly one to follow though the looking glass…

White Rabbits "I Used to Complain Now I Don't"

White Rabbits "Kid on My Shoulders"

The White Rabbits on Letterman

Supagroup rocks One Eyed Jacks Friday!

Come on down Friday as local hard rock heroes Supagroup party in commemoration of new album, Fire for Hire. Opening up is The Way High Men, who have taken way too long to get back to N.O.

Pay $10 to get in and get the new Supagroup CD for FREE.

Supagroup "Let's Get Wasted"

Supagroup "What's Your Problem Now?"

Witchcraft, Saviours, and Evil Army for Halloween!

"Retro-doom...highly underrated"--POPMATTERS

"Ridiculously catchy superrock...’70s-style riff-o-rama...the Swedish second coming of Pentagram and Ozzy"--DECIBEL

Swedish hard rock band WITCHCRAFT comes to One Eyed Jacks on Halloween in support of their new album, The Alchemist. It’s already being hailed as “timeless” and “a masterpiece” that “Metalheads, indie fans, and music teachers alike could unite around.”

WITCHCRAFT, recently cited by Down front man Philip Anslemo and guitarist Pepper Keenan as the inspiration for that group reuniting to record their latest opus, is a hallowed name in underground rock circles. Flying largely under the radar of the popular music landscape previously, the band is now poised on the brink of breakthrough success worldwide.

Also on the bill is Oakland metal band Saviours. Here’s what the press is saying:

"Sabbath-era doominess, NWOBHM/punk rawness, and Maiden-esque, elegant, harmonized lead guitar lines" - THE BIG TAKEOVER

"If Mastodon were on their way out, Saviours would be their heir apparent. With a triple guitar attack and classical metal sensibilities, this Oakland-based group won a lot of people over this year, playing dates with such high-profile names as High on Fire, The Sword, and Pelican. Down and dirty just the way you love it"-- ZERO Mag

Known for their refreshing take on the classic metal of decades past, SAVIOURS are rapidly becoming frontrunners in today’s thriving heavy metal underworld. Spewing blasphemous lyrical hellfire over an endless arsenal of harmonized leads, locomotive rhythms and riff heavy, locking guitars and bass, SAVIOURS spit poignant venom that swings and thrashes somewhere between Iron Maiden, Black Sabbath, ‘Kill ‘Em All’ –era Metallica and Thin Lizzy.

Saviours "Holy Slaughter/Crucifire"

Witchcraft "Lady Winter"

Witchcraft "Chylde of Fire"

Drink with Vince Vaughn tonight

Vince Vaughn will be at the N.O. Film Fest After Party tonight. It's FREE and DJ Matty will be spinning dance music.

Dax Riggs at One Eyed Jacks October 27th

The Houma native and former deadboy leader comes to New Orleans in support of his first solo album, We Sing of Only Blood or Love.

"A remarkably fresh-sounding Johnny Cash-meets-Marc Bolan manner that might be termed doom-and-glam."--SPIN

We Sing of Only Blood or Love is the new album from Dax Riggs. The rough hewn "Demon Tied To A Chair," "Didn't Know Yet," and "Radiation Blues," will strike warm familiar notes with the deadboy contingent, though they may be a bit more on the muscular side. Those wading in deeper are in for some pleasant surprises: Dax's vocals strain to more passionate extremes on "Terrors of Nightlife" and "Ouroboros," he brings some serious glam rave-up to "Living is Suicide" and "I Forgot I Was Alive," offers a complete curveball cover of Richard Thompson's "Wall Of Death," and, yes, a few more nods to the deadboy faithful in the form of "Scarlett Of Heaven Nor Hell" and "Dog Headed Whore" before the album collapses upon itself, spent but still mustering the final throes of "dethbryte"(chopped and screwed by Andrew W.K.).

All told, We Sing of Only Blood or Love is Dax Riggs stepping out as a markedly grown up deadboy--a work imbued with newfound vitality, intensity and maturity, yet one that still begs anyone's best guess as to where things go from here.

Written and recorded in the aftermath of extensive touring behind deadboy's critically acclaimed We Are Night Sky, We Sing of Only Blood or Love is as much the debut of an astonishing new musical voice as it is the culmination of a career (and passion) that's consumed more than half of Dax's young life.

His parents having divorced early on, Dax spent his childhood with his Jehovah's Witness mother in Evansville, Indiana. Saturdays Dax, his mother and the rest of their congregation would take to the streets of outlying neighborhoods, on a mission to share information about the coming Armageddon and to save those who would listen. As much as young Dax loved his work, it would come to an abrupt halt at the age of ten, when he accidentally viewed The Elephant Man on HBO.

The film single-handedly decimated Dax's belief in a benevolent almighty and sent him on the course that would ultimately lead to We Sing of Only Blood or Love. By the age of 12, he went to live with his more liberal father in Houma, Louisiana (spawning ground of the Swamp Thing for you comics fans). Lured by the oil boom of the early '80s, Dax's father had moved to Houma and secured work as a cook on an oil platform in the Gulf. Dax did his best to adjust but ultimately drew progressively inward, unable to comprehend the local creole. Frustrated, he would ultimately quit school at 13 and move to Florida with a girl who was... "older."

With school out of the way, Dax focused his attention entirely on songwriting. Unsurprisingly, his relationship failed and he returned to Houma, where with three like-minded friends, he formed the sludge-metal band Acid Bath at the age of 16. Acid Bath played anywhere they could around Thibodaux, New Orleans and Houma, and spent the winter of '98 headquartered in an decrepit (sometime) porn theater in Morgan City. Nevertheless, its balcony provided a place for Dax and guitarist Mike Sanchez to sleep. Acid Bath signed to indie label Rotten Records, booked a total of four tours and completed one. Plagued by everything from drug addiction to the death of bassist Audie Pitre, Acid Bath called it quits pretty quickly-though they did leave behind a legacy of 100,000+ record sales, a Louisiana scene that spawned the likes of Eyehategod, Crowbar and Down, and John Wayne Gacy album covers.

By 2000, Dax had outgrown metal, honed a self-taught style on guitar and piano, and begun playing out under the name deadboy & the Elephantmen-the name being a tribute to the film that changed his life as well as an expression of his less than positive outlook. He spent the next four years auditioning musicians before hooking up drummer with Tessie Brunet, a kindred spirit hailing from the New Orleans Adoption Agency. She began singing in 2003 and was drumming for barely two months, when during a 2004 visit with her adoptive parents, she played a gig with Dax. It went well enough that she ditched the life she'd been leading in New York City to record We Are Night Sky, which was released in 2006 to an unforeseen level of critical acclaim: ROLLING STONE awarded the record a 4-star review and featured deadboy as an "Artist to Watch," unlikely accolades poured in from the unlikely likes of ELLE (Best of the Month), ESQUIRE ("unexpected gems"), MAXIM ("4 stars... a nightmare come true"), WWD and NYLON, as well as the standard-bears at THE NEW YORKER, THE LOS ANGELES TIMES, MAGNET, HARP, BILLBOARD and TIME OUT NEW YORK.

Following a grueling year of touring that included the most incongruous bill of Austin Texas's 2006 South By Southwest Festival (deadboy/Beastie Boys/Nickel Creek??? No shit) as well as that year's Lollapalooza festival in Chicago, Dax and Tess went their separate ways and Dax repaired to Houma to continue work on the songs that continued to pour out over the course of all the touring and downtime that had surrounded We Are Night Sky.

On Hallows Eve 2006, Dax hooked up with Matt Sweeney (Chavez, Johnny Cash, Superwolf, etc.) in Houma, who would produce and play a lot of guitar on what would become We Sing Of Only Blood Or Love - but not just yet. Sweeney broke his hand just as those early November sessions at New Orleans' Piety Studios were to begin, resulting in a sad stretch of self-medicated producing with limited musical input. The two reconvened in January 2007 in New York, for a creative spurt spurred by Dax taking in a rehearsal of Sweeney's favorite band, Endless Boogie. Deeming it "a fucking religious experience," Dax promptly asked the band's drummer Endless Andy MacLeod (White Magic, Bright Black) to play on the record. Winter found Dax, Sweeney and Endless Andy on NYC's Lower East Side arranging, and then in Brooklyn recording a bunch of songs at The Rare Book Room with owner/operator Nicolas Vernhes.

At Nicolas's studio, Dax and crew would complete songs from Piety and material that Aaron Havill had recorded at Dax's home with the latter-day deadboy touring dudes: Alex Bergeron (bass), Adam Clement (drums), Sean Keating (keys) and Lucas Broussard (backing vocals)--as well as additional guitar from T.K. Webb, Dax's pal J.T. Van Zandt and his buddy Bozo Cyclops, piano and keys from Endless Andy's bro Robt. E. Lee, drums by Sweeney's Chavez cohort James Lo on three songs and more... Ultimately it became clear that the new material had taken on a life of its own, becoming the next evolutionary stage of Dax's career beyond the deadboy moniker. And a scant few months later, Dax would post on his myspace page:

"I want to let everyone know that for a variety of reasons I have decided to release my upcoming album We Sing of Only Blood or Love under my name: Dax Riggs.

I want to thank everyone who supported deadboy & the Elephantmen, it was and will always be more than just a band, it's in my DNA."

Dax Riggs "Night is the Notion"

Dax Riggs "Stop I'm Already Dead"

Dax Riggs "Didn't Know Yet What I'd Know When I Was Bleeding"